3 Set show.
February 26, 2013
The Jauntee lick your brain balls.
So, the Jauntee. This band keeps making music that keeps getting awesome. There's something the punch they drink on Rugg Rd. Maybe its the streamers, or something George left on the couch. I'm not quite sure. There's a fuck-ton of stairs, though.
Anyway, so this show's 3rd set. If I were on Bisco lot, it'd be all "Brah's be reppin', shorty's on fiyah doin' the Doo-Wop Shibby, smakkin' crankkin' dip-rankin' all thems wobbles and hoes. Whose got my heady quartz?"
Actually, none of that, really. At all. And if anyone should ever have such a lapse in sanity, they need to be smacked. And now, real things-->
These guys have a hold of something truly unique and wonderful, and this show reveals that in spades. The band had been on tour for about a week straight with no days off, and their fluidity, telepathy, and intuition is just off those gosh-darn charts, my friend.
The show starts innocently enough with a slew (remember that word?) of well-played compositions, before the Jam strategically winds its way upwards out of Lunch In Be, which is traditionally not really a jam vehicle.
Hence does its Fence before the cover of RaceCar Ya's Ya's makes us listeners do just that. A few more well-played originals and then we're on our way to a Phish-out of epic proportions.
You know something's weird when the band drops their bluegrass take on "Bug". But that is only the prelude to the real magic.
Fading Time, which is quickly becoming a favorite song of mine with its super cool guitar hook, launches the band on an easy-stride swampy space-funk. But boy is it elastic, and the Jauntee stretch that fucker wide.
Grooving through a dark dance-hall groove-pound, bassist Longhair Loland deftly twists the groove around (see what I did there?) so that he can insert the bass line to Sand.
Caton picks up on it almost instantly, and Scott takes his time to adjust the drums accordingly. Next thing we know, we're in an instrumental version of Sand, with Caton quoting the lyrical melody with his guitar.
Soon after that, we slide back into Fading Time's funky drawl, and glide through various atmospheres, before SOMEHOW a chord progression develops, a speed change fluxes, and HOLY SHIT we're in Run Like An Antelope now. I still don't know how it happened.
The band ends the track with Antelope, and it's fucking wild. The fact that a band this young can pull off a move that extraordinary and make it sound so effortless is just amazing.
The real highlight, however, is not until the very, very end of the show. Scott gets introspective on "Ponder" and then we get into the last tune of the night, the buoyant and flighty "Portland".
But a week's worth of playing and jamming will do wonders for a band, as this version swells and bulges with such an expanse that the band finds themselves hammering their way into "Let The Drummer Take One", a clear sign of confidence, competence, risk, and gall. Portland wasn't finished, which makes me think that this was unplanned, and simply the result of the band firing on all cylinders at the end of a long and masterfully-played show.
It's hard to explain to someone who isn't familiar with the band, but Portland->Let The Drummer Take One?!? Fuck!!!
Honestly, the only thing I can think of is if Phish did something like Limb By Limb -> I Am Hydrogen -> Divided Sky maybe, or when the Dead pulled off Help On The Way->Slipknot->Fire On The Mountain in Boston.
This is monster of a show, and you would do well to listen to the entire thing.